You can now listen to the live recording of the première of Outer Space, performed by Ensemble NIKEL, on July 20th 2018 at the Centralstation, as part of the Darmstadt Summer Course. Please, use headphones or good loudspeakers, and play it loud!
From September 2018 until August 2019 I will be living in Rome as resident fellow at Villa Médicis.
I left Italy 12 years ago, and being able to be back here as composer in residence makes me extremely happy. I am looking forward to discovering a city that I don’t know anymore, meeting my colleagues at the Villa, and working on my very first orchestra piece, and my third string quartet!
This year has been all about interdisciplinary works. This is a direction that I have always wanted to explore, and I cannot be happier to have found people that will help me in this new path. Stay tuned!
Working on the short film Outer Space, by Peter Tscherkassky, put the research I am doing on visual music on a new level. Even without soundtrack, this film provides a sonic experience through rhythm, noise, and dynamic of the visual. Composing a music that could add a layer of complexity to the already stand-alone work has been maybe the greatest challenge I faced within the past years. The flow of information received by the eye is so overwhelming that not surrendering to a mere audio-visual synchronization has been a constant fight that I kept losing. So I simply decided to empower it instead, integrating not only the music, but the musicians themselves to the film.
The piece is a commission of the Darmstadt Summer Course for the amazing Ensemble NIKEL, and will be played in Darmstadt (20 July 2018), Utrecht, as part of Gaudeamus Muziekweek (7 September 2018), and in Lausanne (4 March 2019). I hope to see you there!
I just came back home after spending three weeks in Munich for the set up and world première of my latest work, skull ark, upturned with no mast. Working on this project taught me more that I could imagine. I did something I had never done before, and I am happy with the result and all the risks I’ve taken.
I want to thank Anna Kubelìk, for building my instrument; Eva G. Alonso, for being absolutely the best light designer of all times, and for the long night shifts; Chris Swithinbank, for solving every problem, and for creating the most magical environment; and the four performers, Emma Iannotta, Karin Hellqvist, Truike van der Poel, and Johanna Zimmer, for being open to realise all my requests — even the craziest ones, like “don’t blink”.
Big shout out also to Laura Martegani and Paolo Mariangeli, for being with us all the time, with their positivity, and hard work.
In February, filmmaker Johannes List visited me in Berlin to produce this short portrait video for the prize ceremony of the Ernst von Siemens Komponistenpreis, which I was awarded at the beginning of May. I am so grateful for the support of the Ernst von Siemens Musikstiftung. We are currently working on a new CD of my recent works for large ensemble and orchestra for release next year. I can’t wait to share them with you!
It is a great honor to be awarded the Ernst von Siemens Composers’ Prize 2018.
This prize enables me to take the time I need to compose, think, and make careful decisions. It releases some of the pressure this job builds, and allows me to slow down. I could not be thankful enough for being given this enormous privilege.
I am so honored to have been awarded the Hindemith-Preis 2018 and am looking forward to attending the Schleswig-Holstein Musik Festival, where on July 23rd 2018 the award ceremony will take place.
A few weeks ago, Giulia Accornero asked me to reply to some questions for an interview on the National Sawdust Log — you can read the whole interview here.
We talked about what it means to me to be a responsable curator and a female composer in a male-dominated field. Although I have been lucky enough to meet people who supported me throughout the beginning of my career, it is my responsibility to denounce the challenging situations many female composers experience. It is painful to see that still in 2018 new music festivals have a completely unbalanced gender representation, with some of the most prestigious platforms presenting almost 100% male programmes. Sometimes, people think that organizing female festivals or concerts balances out the situation, but female composers don’t need a space created especially for them, they want and deserve to share the same space men have.
If you don’t know many female composers, feel free to reach out. I will be happy to provide a long list of wonderful names.